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| Gilles by Jean-Antoine Watteau |
Jean-Antoine Watteau (1684-1721)
Watteau's wistful Pierrot stares out as if from a roccoco chocolate box. The worn white silk emphasises the innocence of the lovelorn buffoon.
But perhaps his pain isn't entirely due to a broken heart. Training in the acrobatics of ballet began early when performers took to the stage as young as the age of four. The Pierrot Gilles may have carried injuries that would cause modern performers and athletes to retire.
Jean-Antoine Watteau was born on 10 October 1684 in Valenciennes. He moved to Paris at the age of eighteen and became assistant to Claude Gillot in 1703. Gillot was known as a theatre designer - both of scenery and costumes - and it may have been in his workshop that Watteau's lifelong attraction to theatrical subjects began.
A tale appears in Concert room and orchestra anecdotes of musicians, ancient and modern by Thomas Busby (1825) and was reprinted in several other publications,
"music Won The Cause.'
Anseaume,a gentleman of very limited income, hired a small house at Bagnolet, and invited his friends once or twice a-week to come and amuse themselves there. On these occasions, each brought some provisions; one wine,another cold meat, another patties, another game. It unluckily happened that Anseaume, as absent in mind as straitened in his finances, had forgotten, for a whole year, to pay his rent. The landlord made a descent upon him precisely on the day that his friends Colle, Panard, Piron, Gillet, the painter Watteau, the musician Degueville, and other epicures, had assembled there. These gentlemen, according to custom, had brought plenty of provender, but no money; and the landlord imperiously demanded his rent of two hundred crowns. What was to be done, in order to assist their friend? They immediatelyset about cooking the meat and poultry; they levied contributions on the fruit and vegetables of the gardens; Watteau drew a beautiful and inviting sign, and Degueville borrowed a violin of the parish beadle; in short, they got up a cabaret and a fete champetre. The appearance of these new cooks, who served their customers in habits of embroidered velvet, with swords by their sides, had a curious effect, and greatly diverted the company, which was so numerous that the receipts amounted to five hundred crowns. Anseaume paid his landlord, and his distress was converted into joy and gladness. But now a question arose, that was discussed with no small earnestness and interest:—To which of his guests Was the host most indebted? Those who played the parts of cooks declared that, without their labours, there would have been nothing for the public to eat; Watteau laid no little stress on the invitation held out by his sign; and Degueville insisted that, without his music, the people's attention would not have been drawn to the sign; and that, even if they had noticed it, and came in, there would have been no mirth and spirit, little eaten, and that little scantily and reluctantly paid for. The dispute began to grow warm, when Degueville seized the violin, played them all into good humour, and was, at length, allowed to be the victor.
It isn't clear which of the Watteaus this refers to, both Jean-Antoine's nephew and great-nephew also became painters. Neither can we be sure which D'Egville played so persuasively. It may be no more than coincidence that Jean Baptiste Anselme and Françoise Gravillon lived in Valanciennes between 1733 and 1743. Seven of their children where born in the city, including their daughter Sophia who had a formidable career as a dancer and married Peter Hervet D'Egville. If bonds were formed between this generation then the tale probably refers to Louis Joseph Watteau (1731-1798).
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| The Violinist by Louis Joseph Watteau |
Louis Joseph was clearly influenced by the work of his uncle, including his choice of subject matter. The pastoral context of the performance by the itinerant fiddler is equally idealised as that of Jean-Antoine's Gilles. The Elysian parkland far removed from the reality of the Théâtre de la foire. But both artists capture the magic of performance where the audience are acting out their lives and the paintings' eponymous figures are emphasised by their possession by dramatic genius.
As for the tale, it's probably no more than a tale. It has similarities to Aesop's fable of The Wind and the Sun. Importantly, it places a D'Egville among the luminaries of the mid-eighteenth century. It also portrays a man to whom I can relate - music might be his passion but he enjoys a barbecue. It is this kind of detail that I've strived to reveal about our ancestors. The work of the Watteaus helps by providing an insight into the contemporary theatrical world and because they drew on this world for their subjects you might be looking at one of your forebears.
Watteau: The Drawings
11 March—5 June 2011
Adults £10
Concessions: £8 (seniors, disabled, NADFAS, Art Fund)
Disabled carers: free
Corporate Guests: £7
Students (NUS): £7
Children 12-18 years/Income Support/unwaged: £4
Children 8-11 years: £3
Under 7 years: free
Watteau's draughtsmanship should perhaps be viewed as an accompanyment with the exhibition at the Wallace Collection.
Esprit et Vérité: Watteau and His Circle
Saturday 12th March, 2011 - Sunday 5th June, 2011
Price: Admission Free
